Collections: Arts of the Americas: Model Cradle Decorations

  • 1st Floor
    Arts of Africa, Steinberg Family Sculpture Garden
  • 2nd Floor
    Arts of Asia and the Islamic World
  • 3rd Floor
    Egyptian Art, European Paintings
  • 4th Floor
    Contemporary Art, Decorative Arts, Elizabeth A. Sackler Center for Feminist Art
  • 5th Floor
    Luce Center for American Art

On View: A Morning Snow--Hudson River

Assured, slashing strokes of a heavily loaded brush capture the effects of morning light reflected from freshly fallen snow. This view of th...

Hiroshige's One Hundred Famous Views of Edo

Hiroshige's 118 woodblock landscape and genre scenes of mid-nineteenth-century Tokyo, is one of the greatest achievements of Japanese art.

    On View: Princess Sobeknakht Suckling a Prince

    Beginning in the Middle Kingdom, craftsmen demonstrated great skill in designing and manufacturing metal statuary. This copper statuette, re...

     

    Want to add this object to a set? Please join the Posse, or log in.

    close

    CUR.50.67.44_view1.jpg CUR.50.67.44_view2.jpg 50.67.44_acetate_bw.jpg

    Model Cradle Decorations

    THE JARVIS COLLECTION
    The articles in this case and the adjacent clothing case [see 50.67.6] are some of the earliest and finest Eastern Plains pieces in existence. They were collected by Dr. Nathan Sturges Jarvis, a military surgeon stationed at Fort Snelling, Minnesota, between 1833 and 1836. Most items were made by the Eastern and Middle Dakota (Sioux) or by the peoples of the Red River region, including the Red River Métis, Anishinabe, Plains Cree, and Salteaux. Some of the objects were purchased by Jarvis, and others may have been given to him in exchange for his medical services.

    By the early nineteenth century, the growing numbers of white settlers and military personnel—following decades of fur trading—had depleted much of the game on which the Dakota and Red River peoples depended. Indigenous ingenuity in combining trade materials such as cloth, metal, and glass beads with traditional hides, pipestone, and porcupine and bird quills is evident in these objects.

    This text refers to these objects: ' 50.67.15; 50.67.22a-b; 50.67.36; 50.67.39; 50.67.44; 50.67.65; 50.67.67; 50.67.103; 50.67.118a-b; 50.67.140; 50.67.100c

    • Culture: Sioux, Native American
    • Medium: Wood, hide, porcupine and bird quills, tin cones, glass beads, wool cloth
    • Place Made: Fort Snelling, Minnesota, United States
    • Dates: 1801-1836
    • Dimensions: No dimensions of cradle as intact available.
    • Collections:Arts of the Americas
    • Museum Location: This item is not on view
    • Accession Number: 50.67.44
    • Credit Line: Henry L. Batterman Fund and the Frank Sherman Benson Fund
    • Rights Statement: Creative Commons-BY
    • Caption: Sioux (Native American). Model Cradle Decorations, 1801-1836. Wood, hide, porcupine and bird quills, tin cones, glass beads, wool cloth, No dimensions of cradle as intact available. Brooklyn Museum, Henry L. Batterman Fund and the Frank Sherman Benson Fund, 50.67.44. Creative Commons-BY
    • Image: overall, CUR.50.67.44_view1.jpg. Brooklyn Museum photograph, 2006
    • Catalogue Description: The backboard for the cradle is missing, only the quilled ornaments remain. These consist of two large sections of smoked skin, which wrapped around the cradle and were decorated with orange, white, red, brown, light blue and yellow porcupine quills. The design may be called "otter tail” design as the fretwork moves from left to right as if the otter was doing this: jump-jump-slide-jump-jump. Another suggestion is that he "fret" design may be an abstract thunderbird. There are also two straps decorated with quill wrapped thongs, tin cones, and blue and white pony beads. The cradle model is exceptional in two respects. First it is a model and only 3 are known. (The other being in the NMAI and the Peabody Salem Essex). This suggests it was might have been made for sale as pieces that are missing perhaps were not made, or were lost after it was acquired. The cradle decorations are displayed on this mount condensed, as the piece would have been longer. The rectangular piece below might not be in correct location. B Hail, "Hau, Kola,” pg. 144, fig. 127, shows an early Dakota cradle with three of these rectangular forms dangling down from the bottom of the cradle board not from the wrappings.
    • Record Completeness: Best (83%)
    advanced 108,205 records currently online.

    Separate each tag with a space: painting portrait.

    Or join words together in one tag by using double quotes: "Brooklyn Museum."




    Please review the comment guidelines before posting.

    Before you comment...

    We get a lot of comments, so before you post yours, check to see if your issue is addressed by one of the questions below. Click on a question to see our answer:

    Why are some objects not on view?

    The Museum’s permanent collections are very large and only a fraction of these can be on exhibition at any given time. Sometimes works are lent to other museums for special exhibitions; sometimes they are in the conservation laboratory for study or maintenance. Certain types of objects, such as watercolors, textiles, and photographs, are sensitive to light and begin to fade if they are exposed for too long, so their exhibition time is limited. Finally, as large as the Museum is, there is not enough room to display everything in the collections. In order to present our best works, collections are rotated periodically.

    How do I find out how much an object in the Brooklyn Museum collections is worth?

    The Museum does not disclose the monetary values of objects in its collections.

    Can you tell me the value of an artwork that I own?

    The Museum does not provide monetary appraisals. To determine the value of an object or to find an appraiser, you may contact the Art Dealers Association of America or the American Society of Appraisers.

    I own a similar object. Can you tell me more about it?

    Please submit via e-mail a photograph of the object you own and as much information about it as you can, and we will provide any additional information we are able to find. Please note that research in our files is a lengthy process, and you may not have a response for some time.

    How would I go about lending or gifting a work to the Museum or seeing if the Museum is interested in purchasing a work that I own?

    Please submit via e-mail a photograph of the object you would like us to consider, as well as all of the information you have about it, and your offer will be forwarded to the appropriate curator. The Brooklyn Museum collections are very rich, and we have many works that are not currently on exhibition; because of this, and because storage space is limited, we are very selective about adding works. However, the collection has become what it is today through the generosity of the public, and we continue to be grateful for this generosity, which can still lead to exciting new acquisitions.

    How can I get a reproduction of a work in your collection?

    Please see the Museum’s information on Image Services.

    How can I show my work to someone at the Museum or be considered for an exhibition?

    Please see the Museum’s Artist Submission Guidelines.

    Why do many objects not have photographs and/or complete descriptions?

    The Museum's collection is very large, and we are constantly in the process of adding photographs and descriptions to works that do not currently have them, or replacing photographs that have deteriorated beyond use and descriptions that are minimal or out of date. This is a long and expensive process that takes time.

    How can I find a conservator or get advice on how to treat my artwork?

    Please visit the American Institute for Conservation, which has a feature on how to find a conservator.

    I have a comment or question which is not included in this list.

    Join the posse or log in to work with our collections. Your tags, comments and favorites will display with your attribution.